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tTbe  (3arficl6  /IfcemoriaL 


Copyrrght,   1894,  by  tne 

Garfield  National  Memorial  Association, 

Cleveland,  Ohm. 


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5:^^  Xlbe  (5arfiel&  /ll>einoiiaL 

SOON  after  the  melancholy  death  of  President  Garfield,  in  September.  iSSi,  a  movement  was  begun  in  Cleve- 
land to  erect  a  monument  to  his  memory,  and  Hon.  J.  H.  Wade,  Senator  H.  B.  Payne,  and  Joseph  Perkins, 
of  Cleveland,  were  appointed  a  committee  for  that  purpose.  This  committee  issued  an  appeal  to  the  nation 
for  contributions  to  build  the  monument,  which  was  promptly  and  generously  responded  to.  The  fund  thus  raised, 
with  the  accumulation  of  its  interest,  amounted  to  over  §150.000.  of  which  §75.000  was  contributed  by  the  citizens 
of  Cleveland,  and  §14.000  more  from  Ohio  outside  of  Cleveland.  \ew  York  gave  over  §14.000;  Illinois  nearly 
§5,500;  Iowa  nearly  §3,000  ;  Wisconsin.  §2.000  ;  Pennsylvania.  §1.800  ;  Maine.  §[.6oo  ;  Kansas.  §1 .500  ;  Missouri. 
$1,500;  Indiana.  §1.400;  and  Connecticut  over  §1.000.  Montana  Territory  .gave  over  §1.900.  Sums  ranging  from 
$4  to  over  §900  were  given  by  twenty-seven  other  States  and  nine  Territories. 

The  work  of  obtaining  contributions  was  prosecuted  by  the  committee  until  [unc.  1SS2.  when  it  was  thought 
advisable  to  incorporate  an  association,  \inder  the  laws  of  Ohio,  under  the  n:nnc  of  The  Garfield  National  Monu- 
ment Association,  which  consisted  of  the  following  members;  (imcrnnr  C  li.irUs  Fo.ster,  e.\-President  R.  H.  Haves, 
Hon.  J.  H.  Wade,  Senator  H.  B.  Payne.  Joseph  Perkins.  T.  P.  Handy.  Daniel  P.  Fells.  W.  S.  Streator.  ].  H.  De'ver- 
eau.x,  Selah  Chamberlain.  John  D.  Rockefeller.  H.  B.  Perkins.  Hon.  Jolm  Hay.  and  ].  H.  Rhodes.  A  meeting  of 
the  incorporators  was  held  July  6.  1882.  at  which  an  e.xecutive  committee  of  five  was  appointed  and  J.  H.  Rhodes 
elected  secretary.  .At  the  regular  annual  meeting  held  in  June.  1SS3.  a  committee  consisting  of  Joseph  Perkins. 
John  Hay  and  H.  R.  Hurlburt  was  appointed  to  prepare  and  issue  invitations  to  architects  and  artists  to  submit 
designs  in  competition  for  the  monument.  Three  prizes  were  offered  of  §1.000.  §750.  and  §500  respectively,  and 
this  invitation  was  issued  through  the  .Associated  Press  and  by  private  circulars  sent  throughout  the  United  States. 
England.  Germany.  Italy,  and  France.     .About  fifty  ditlerent  designs  were  submitted  in  answer  to  this  invitation  by 


artists  of  Europe  and  Anu-rica,  each  acrompatiieil  by  a  sealed  letter  cnntaining  a  mark  or  motto  similar  to  one  on 
the  design,  so  as  to  ideiitilN  the  artist  and  his  work  after  the  examination  of  the  designs  and  close  of  the  competi- 
tion. This  was  done  that  the  decision  might  be  reached  without  pers(  mal  knowledge  of  the  authors  of  the  designs. 
The  Trustees  of  the  associatioii  before  adopting  any  design,  and  with  a  \i(\v  to  an  impartial  and  right  conclusion, 
called  to  their  assistance  two  eminent,  competent  and  disinterested  architects  to  aid  them.  Mr.  Henry  Van  Brunt, 
of  Boston,  and  Mr.  Calvert  Vaux.  of  New  York  City,  were  the  experts  chosen.  These  two  came,  singly  and  at 
separate  times,  to  Cleveland,  made  a  caref\il  and  independent  examination,  and  reported  their  decision  to  the  Trus- 
tees, without  any  knowledge  of  the  authors  of  the  designs  or  of  each  other's  conclusions.  Both  experts  singled 
out  the  design  of  George  Keller,  nf  Hartford.  Connecticut,  for  the  lirst  prize.  ( )n  the  2ist  of  ]vdy  the  design  of 
Mr.  Keller  was  accordingly  adopted,  and  he  was  thereupcjn  appointed  architect  of  the  memorial. 

The  design  was  but  a  slight  sketch  or  study  drawn  to  a  very  small  scale,  but  sufficientl)^  in  detail  to  give  a 
general  idea  of  the  proposed  memorial,  in  the  development  of  which  Mr,  Keller  was  allowed  am|)le  latitude.  He 
felt  that  here  was  an  opportunity  given  him  not  only  to  erect  an  imposing  monument,  but  to  do  something  for  the 
advancement  of  art  in  America.  To  this  end  he  visiteil  in  the  fall  of  1884  many  of  the  famous  monuments  in 
Europe,  of  both  ancient  and  modern  times,  and  in  studying  them  impi'oved  and  perfected  his  design.  In  October, 
18S5,  the  contract  for  all  of  the  cut  stone  and  mason-work  was  awarded  to  Thomas  Simmons,  of  Cleveland,  and  the 
work  of  excavation  for  the  foundation  begun.  Before  any  of  the  foundation-stones  were  laid  the  trenches  were 
inspected  by  several  distinguished  engineers,  and  approved  by  them.  As  the  work  progressed,  criticisms  on  the 
foundations  were  made  to  the  effect  that  thev  were  not  sufficiently  secure  and  rested  on  a  ])erishable  surface. 
These  criticisms  residted  in  the  ap|)ointment  of  a  committee  of  three  by  the  Civil  Engineers'  Club,  of  Cleveland, 
who,  with  the  aiil  of  ArchittTt  Keller,  thoroughly  investigated  the  subject,  and  on  |une  8,  1 886,  the  committee 
made  report  that  the  weight  of  the  structure  was  not  nearly  so  great  as  had  been  represented,  and  that  it  was  not 
at  all  likely  to  settle  by  reason  of  insecurity  of  the  foundations.  A  special  report  was  also  made  by  (jeneral  \V.  J. 
McAlpine,  Engineer,  of  New  York  City,  the  highest  authority  in  the  country  on  foundations,  in  which  he  declared 
the  foundations  "to  be  entirely  safe  against  unequal  or  objectionable  settlement.  "  At  the  annual  meeting  in  1886, 
after  the  above  examinations  and  reports  had  been  made,  Mr.  Keller  submitted  to  the  Board  of  Trustees  a  modi- 


fied  plan  of  the  memorial,  with  a  view  to  still  further  improving  the  design,  so  as  to  have  less  the  appearance  of  a 
lower  or  observatorw  and  to  give  it  a  more  tomb-like  character,  befitting  its  purpcjse.  The  proposed  modification 
was  fullv  considered  and  discussed,  and  was  unanimously  adopted  by  the  Ijoard.  The  memorial  as  it  now  stands 
completed  testifies  to  the  wisdom  of  this  decision,  for  there  is  nowdiere  in  the  country  one  approaching  it  in 
monumental  eftect. 

The  memorial  is  situated  in  Lake  View  Cemetery,  in  the  suburlis  of  Cleveland,  on  a  high  ridge  of  ground  over- 
looking a  region  of  country  closely  associated  with  Garfield's  memory.  It  is  a  striking  feature  in  the  landscape,  a 
landmark  visible  from  afar,  and  one  that  will  always  live  in  the  memory.  It  is  built  of  the  native  sandstone  of  Ohio, 
and  its  form  is  large  and  imposing  —  a  circular  tower  50  feet  in  diameter  rising  boldly  in  the  air  to  its  summit.  180 
feet  from  the  ground.  It  is  elevated  on  a  broad  stone  terrace,  which  is  reached  by  a  flight  of  wide-spreading  steps 
that  form  a  dignified  approach  to  the  memorial.  At  the  base  of  the  tower  projects  a  square  porch,  decorated 
externally  with  a  historical  frieze,  which  is  within  easy  view  from  the  terrace  and  ground.  This  frieze  is  divided 
into  panels  containing  life-size  bas-reliefs  that  represent  in  a  language  understood  by  all  the  career  of  Garfield  — 
as  a  Teacher,  a  Statesman,  a  Soldier,  a  President  and  the  last  panel  represents  his  body  h'ing  in  state  in  the 
Rotunda  at  the  Capitol. 

The  life  of  Garfield,  not  unlike  thai  of  many  distinguished  Americans,  was  full  of  variety,  showing  nearly  all 
the  characteristics  of  our  national  life,  and  those  the  sculptor,  Mr.  Casper  Buberl,  has  cleverly  reproduced.  The 
five  panels  contain  over  one  hundred  figures,  all  life  size,  and  present  an  epitome  of  Garfield's  life  in  a  most  graphic 
manner.  The  first  panel  shows  him  as  a  young  man  in  the  middle  of  a  country  school-room,  teaching  the  boys  of 
his  neighborhood.  On  the  wall  hangs  a  map  of  the  United  States  and  a  portrait  of  George  Washington.  An  out- 
line of  the  Hartford  Soldiers'  Memorial  Arch,  drawn  on  a  black-board,  is  a  reminder  that  Ohio  was  formerly  a  part 
of  the  western  reserve  of  Connecticut.  One  boy  recites  his  lessons,  another  is  at  the  black-board,  while  the  rest  of 
the  class  is  variously  occupied  at  different  tasks.  The  portrait  of  Garfield  in  this  panel  is  an  accurate  copy  of  a 
photograph  of  him  at  that  age  loaned  for  the  i)urpose  hv  Mrs.  Garfield.  The  second  panel  is  a  brave  and  brilliant 
episode  in  the  life  of  the  dead  General,  where  he  rode  to  (jeneral  Thomas  with  a  despatch,  through  a  hail  of  death 
and  against  the  protests  of   Rosecrans,  to  accomplish  one  of  the  most  dramatic  incidents  of  the  civil  war,  at  the 


battle  of  Chirkamnuga.  Garfield  as  an  orator  the  artist  has  effectively  portrayed.  He  has  chosen  a  peculiarly 
American  custom  for  his  subject,  not  representing  him  as  addressing  monotonous  rows  of  Congressmen  in  the 
Representative  Chamber,  delivering  a  formal  address  on  some  state  occasion,  but  he  has  chosen  to  represent  him 
as  speaking  to  the  people  at  an  out-door  mass-meeting,  stirring  them  by  the  power  of  his  oratory.  He  stands  in 
tlie  centre  of  the  composition  on  an  inipmniptu  platform,  wliicli  is  decorated  with  the  American  flag.  Seated  at 
his  left  hand  are  the  chairman  of  the  meeting  and  other  prominent  citizens,  and  on  the  right  are  the  reporters 
busily  noting  the  words  of  his  speech.  This  forms  the  central  group  of  the  composition.  On  either  side  of  the 
platform  are  crowded  the  listening  multitude,  representing  all  ranks  of  life,  and  in  all  stages  of  emotion,  affected 
by  the  eloquence  of  the  speaker.  Some  are  thoughtful,  as  if  impressed  bv  a  deep  feeling  of  what  they  hear;  some 
are  enthusiastically  cheering,  and  wa\'e  their  liats.  while  cithers  look  intently  on  the  orator,  unwilling  to  lose  a 
word  of  his  speech.  Banners  and  mottoes  are  borne  alrjft,  and  the  whole  scene  is  alive  with  excitement,  while  in 
the  centre  stands  the  manly  form  of  Garfield,  who  seems  to  have  just  ended  a  stirring  speech,  and  waits  for  the 
applause  to  subside.  The  fourth  panel,  which  occupies  the  position  to  the  extreme  right  of  the  facade,  is  the 
crowning  triumph  in  the  career  of  this  successful  American.  In  the  centre  arc  Chief  Justice  Waite  and  Garfield, 
one  hand  un  the  I^ible.  and  the  right  lifted  to  heaven,  as  he  takes  the  oath  of  office.  Behind  him  sit  ex-President 
Hayes  and  Wheeler,  and  behind  the  Cliief  Justice,  Arthur,  soon  to  be  elevated  to  the  Presidency  by  the  assassin's 
act.  General  Sherman,  Blaine,  Carl  Schurz,  Logan,  Senator  Sherman,  Evarts.  and  other  noted  men  are  distin- 
guished among  the  throng  of  people.  The  last  panel  represents  the  bier  of  the  assassinated  President,  and  is  a 
composition  that  will  touch  the  sensibilities  of  the  coldest  beholder.  Death  is  the  impressive  incident.  The  grief 
of  age.  the  tender  sympathy  of  the  child,  the  warmth  nf  wimian's  sorrow,  the  sturdy  pain  of  the  old  soldier,  the 
tear  of  the  young  boy,  the  silent  grief  of  the  sentinel  knight  —  all  are  graphically  portraved.  On  each  side  of  the 
porch  bearing  this  decorated  frieze  are  staircase  turrets  that  give  access  to  a  balcony  which  commands  an  exten- 
sive view  of  the  surrounding  country. 

The  tower  itself  is  crowned  with  a  conical-shaped  stone  roof,  enriched  with  bands  of  sunken  tile-pattern  orna- 
ments. An  order  of  arcaded  niches  enriches  the  top  of  the  tower  under  a  boldly  designed  cornice.  These  niches 
contain  twelve  colossal  allegorical  statues  representing  the  twelve  signs  of  the  zodiac  which  mark  the  sun's  path. 


signifying  that  the  memory  of  Garfield  shall  be  as  enduring  as  time.  A  band  of  shields  bearing  the  arms  of  the 
States  of  the  Union  extends  around  the  tower,  just  below  the  feet  of  these  statues.  The  porch  is  entered  through 
a  wide  and  richly  decorated  recessed  portal,  and  within  is  a  vaulted  vestibule,  with  a  pavement  in  stone  mosaic, 
leading  to  a  mortuary  chapel  which  occupies  the  entire  space  enclosed  by  the  outer  circular  walls  of  the  tower. 
Those  who  have  seen  the  shrine  of  Edward  the  Confessor  in  Westminster  Abbey.  Thomas  .\  Becket's  at  Canter- 
bury, or  Edward  the  Seventh's  Chapel,  can  imagine  how  splendid  they  must  have  been  in  olden  times.  The  chapel 
of  the  Medici  in  Florence  is  the  richest  interior  in  Italy,  and  the  Albert  Memorial  at  Windsor  is  splendid  in  stained 
glass,  sculpture,  and  decoration.  These  are  mentioned,  because  there  is  a  popular  idea  that  color  and  decoration 
are  entirely  out  of  place  in  a  memorial,  and  nothing  but  cold  white  marble,  black  lines,  and  general  gloom  should 
pervade  such  an  interi(jr. 

The  chapel  of  the  Garfield  Memorial  is  glorious  with  stained  glass,  golden  mosaic,  and  rich  decorations  in  beauti- 
ful colored  marbles.  Here  the  architect  has  called  to  his  assistance  the  artist,  .sculptor,  mosaicist,  and  glass-worker, 
to  carry  out  a  complete  scheme  of  polychromatic  decoration,  thus  creating  one  of  the  richest  interiors  in  the  world. 
This  chapel,  or  memorial  hall,  is  circular  in  form,  and  contains  a  marble  statue  of  Garfield,  standing  on  a  ped- 
estal in  the  very  centre  of  the  chamber.  Arranged  in  a  circle  around  the  statue  is  a  row  of  massive  deep  red- 
colored  polished  granite  columns,  which  support  a  dome  that  forms  a  noble  canopy  over  the  statue.  A  circular 
aisle  extends  around  outside  these  columns,  permitting  the  spectator  to  survey  the  statue  from  all  points,  and  to 
study  the  story  of  a  rich  marble  mosaic  frieze,  which  forms  a  band  of  color  just  above  the  circle  of  columns,  having 
for  its  subject  the  funeral  procession  of  the  dead  President.  This  processional  frieze  is  entirely  executed  in  stone 
mosaic  formed  of  different  colored  tesserx-,  the  name  given  to  the  small  pieces  of  stone  of  which  the  mosaic  is 
composed.  The  ancients  rarely,  if  ever,  used  stone  mosaic  for  wall  decorations  where  pictures  or  figures  were  in- 
troduced in  the  design.  It  may  be  considered  as  a  modern  use  of  this  beautiful  material,  and  this  frieze  is  the  first 
work  of  the  kind  in  this  country  on  so  large  a  scale.  Indeed,  there  are  but  few  examples  in  Europe  of  such  impor- 
tance. The  color  of  the  ground  of  this  frieze  is  a  deep  red,  and  the  figures  are  of  a  cream  or  buff  color  in  different 
shades,  boldly  outlined  in  black.  Other  colors  are  used  sparingly  for  the  hair,  wreaths,  and  elsewhere,  to  give 
effect  to  the  coinposition  — al'  the  natural  colors  of  the  stones  used.     Over  200,000  tesserae  were  required  to  make 


this  mosaic  alone.  The  pa\xmcnt  surrounding,'  the  dais  on  wlui  h  the  statue  stands  is  also  executed  in  stone 
mosaic  in  beautiful  patterns  and  color,  and  the  dais  is  made  of  what  is  known  as  sectile  mosaic,  in  whiih  the  elab- 
orate design  is  made  of  rare  and  beautiful  marbles  shaped  to  the  outline  of  the  pattern  and  highly  polished. 

The  dome  and  the  panels  on  the  side  wall,  which  correspond  with  the  illuminated  glass  windows,  are  incrusted 
with  glass  or  Venetian  mosaic  on  a  golden  ground.  This  kind  of  mosaic  admits  of  a  much  more  brilliant  coloring 
than  stone  mosaic,  as  the  pieces  which  make  up  the  mosaic  are  made  of  colored  glass.  The  gold  pieces  are  made 
by  applying  a  thin  sheet  of  gold-leaf  over  the  glass,  and  then  spreading  a  film  of  glass  over  the  gold,  so  that  the 
gold  is  imprisoned  between  the  two  layers  of  glass.  This,  broken  into  small  cubes,  forms  the  pieces  of  which  the 
background  is  made.  The  luminous  effect  of  this  mosaic  dome  is  beautiful  as  it  gleams  in  different  degrees  of 
brightness,  according  to  the  curve  of  the  surface  or  the  changing  position  of  the  observer.  The  central  panel  of 
the  frieze,  opposite  the  entrance,  represents  Columbia  and  her  daughter  States  in  attitudes  of  grief,  grouped  round 
the  bier  of  the  dead  President.  Right  and  left  is  a  procession,  comprising  all  sorts  and  conditions  of  men,  bring- 
ing their  tributes  of  love  and  respect  to  lay  them  on  the  bier  of  General  Garfield.  To  the  spectator's  right  are 
Senators,  Representatives,  framers  of  the  country's  laws,  preceded  by  an  allegorical  figure  of  "  Law";  followed  in 
the  next  panel  by  "Justice,"  preceding  a  group  of  members  of  the  Supreme  Court.  Beyond  comes  a  figure  of 
"  Concord,"  emblematic  of  the  sympathy  felt  by  all  nations  of  the  world  at  the  untimely  fate  of  the  illustrious 
statesman,  the  nations  being  indicated  by  ambassadors  from  Europe.  ( )ricntals.  Indians,  and  Pacific-Islanders  in 
their  distinctive  costumes. 

Starting  from  the  centre  again,  to  the  spectator's  left  hand  we  see  "War."  followed  by  types  of  the  military 
and  naval  services  lowering  the  national  banner  at  the  feet  of  their  lost  commander;  in  the  next  panel  "Litera- 
ture." preceding  the  author,  the  lecturer,  the  teacher,  and  pupils  of  each  sex.  Next  comes  an  allegorical  figure  of 
"  Labor,"  bearing  a  spade  and  a  steam-engine,  indicative  of  hand  and  machine  labor,  and  heading  a  group  composed 
of  artisan  laborers,  male  and  female,  canal-boatman,  etc.  The  jjanel  furthest  from  the  centre  group  symbolizes  the 
distant  parts  of  the  Union,  where  a  veteran  of  the  war.  and  his  aged  wife,  unable  in  person  to  join  the  throng  that 
wends  its  way  to  the  President's  tomb,  send  a  son  as  their  delegate  to  deposit  their  offering  of  admiration  and 
respect  for  the  leader's  memory. 


The  dome,  which  is  also  inlaid  with  Venetian  mosaic  in  its  entirety,  is  again  significant  of  the  sorrow  of  a 
whole  peoijle.  In  the  alternative  sections,  at  their  proper  cardinal  points,  are  winged  figures  of  North.  South.  East 
and  West:  at  the  base  is  a  band  of  wreaths  conjoined,  corresponding  in  number  to  the  States  and  Territories  of 
the  Union,  on  a  ground  of  re<i  and  white  stripes  of  the  American  flag.  These  wreaths  are  alternately  of  laurel  and 
immortelles,  emblematic  of  earthly  glory  and  heavenly  immortality.  The  stars  form  a  band  in  the  upper  portion 
of  the  dome.  The  ceiling  of  the  circular  aisle  outside  the  row  of  columns  is  also  vaulted  and  decorated  in  color, 
and  a  high  wainscoting  in  polished  Nuniidian  marble  runs  around  the  chamber  beneath  the  rich  stained-glass 
windows  which  stream  a  flood  of  mellow  light  over  the  whole  interior.  Over  the  entrance  door  are  seated  figures. 
in  glass  mosaic,  of  "War."  fully  armed,  and  "Peace"  holding  forth  the  olive  branch.  Underneath  "War" 
and  "  Peace"  is  the  inscription;  "Erected  by  a  grateful  Countrj-  in  memory  of  James  Abram  Garfield,  30th 
President  of  the  United  States;  Scholar,  Soldier,  Statesman,  Patriot;  Horn  igth  Nov.,  1831;  Died  19th  Sep., 
1S81." 

The  four  panels,  two  on  either  side  of  the  door,  together  with  the  ten  windows,  contain  standing  female 
figures  with  distinctive  emblems,  representing  fourteen  States  of  the  Union,  /'.  r..  the  thirteen  original  States,  and 
Ohio,  the  native  State  of  General  Garfield,  the  arms  of  each  State  being  blazoned  on  a  shield  below  the  figures. 
The  series  commences  on  the  proper  left  hand  of  "Peace  "  with  "  Ohio,"  bearing  a  log  cabin  where  Garfield  first 
saw  the  light.  The  ne.xt  window  is  dedicatetl  to  "  New  Hampshire,"  holding  an  a.xe  ;  at  her  feet,  timber  and  rolls 
of  cloth,  products  of  the  State.  Then  "  Massachusetts,"  the  centre  of  literature,  on  her  brow  the  poet's  crown,  and 
bearing  a  scroll ;  by  her  side,  books  and  early  printing-press.  "  Rhode  Island."  decked  with  jewelry,  the  product 
of  her  industry,  and  holding  a  jewel  casket;  cotton  goods  at  her  feet.  "  Connecticut,"  with  the  Charter  Oak. 
globes  and  educational  books,  clocks,  etc.  "  New  York."  in  her  left  hand  the  Statue  of  Liberty,  in  her  right  an 
ocean  steamer,  at  her  feet  scales  and  other  emblems  of  her  commercial  pre-eminence.  "  New  yersey."  displaying 
a  piece  of  silk;  beside  her,  specimens  of  pottery  and  glass.  "  Pennsylvania  "  carrying  a  lamp  and  supporting  a 
cog-wheel,  for  her  wealth  in  mineral  oil  and  her  iron  industries.  "  Delaware  "  bears  a  basket  laden  with  fruit. 
"  Virginia,"  the  tobacco  plant  and  bales  of  manufactured  leaf.  "  North  Carolina  "  exhibits  cotton  and  corn.  "  South 
Carolina"  rice  and  sugar-cane  and  Southern  fruits.     "  Georgia  "  is  represented  with  a  saw  and  a  pine-tree,  in  allusion 


to  lier  many  saw-mills.  "  Mar\ian(l  "  bears  a  mofiel  of  the  White  House  at  Washington,  the  residence  of  Garfiehl 
when  he  had  risen  from  his  humble  origin  to  the  F"irst  Citizen  of  the  American  Republic. 

The  plain  surfaces  of  the  walls  are  painted  to  harmonize  with  the  other  decorations  and  the  moiddings  and 
carved-work  are  pickcil  out  with  color  and  gold.  The  statue  of  (iarfield  is  made  the  soul  of  the  monument.  The 
whole  design  leads  up  lo  and  is  <-oncentrated  in  this  central  figure.  Tin-  monument  grows  out  of  this  kernel,  as  it 
were,  which  is  enshrined  in  its  heart,  and  the  chapel  surrounds  and  rises  above  it,  and  proclaims  it  to  the  world. 
Alexander  Doyle,  the  designer,  was  born  in  Steubenville.  Ohio;  began  the  .study  of  sculpture  in  New  York  and 
spent  several  years  in  Italy,  where  he  won  an  enviable  professional  reputation.  In  the  crypt  underneath  the  mort- 
uary chapel  is  placed  the  body  of  Garfield,  away  from  the  |jublic  gaze,  and  safe  irom  the  invasion  of  that  [irivacy 
which  should  always  surround  a  place  of  sepulchre. 

Mr.  Keller  was  ably  assisted  in  his  work  on  the  memorial  bv  [ohn  .S.  Chappie,  architect,  of  London,  under 
whose  supervision,  during  Mr.  Keller's  absence  in  this  country,  much  of  the  mosaic-w-ork  and  stained  glass  was 
executed.  Mr.  Casper  Huberl.  of  New  York,  was  the  sculptor  of  the  exteri<jr  historical  panels  which  so  tellingly 
illustrate  the  career  of  Garfield.  The  cartoons  for  all  the  mosaic-work  and  stained  glass  were  made  by  H.  Walter 
Lonsdale,  an  eminent  artist  living  in  London,  but  who  was  born  in  America.  The  mosaic-work  was  executed  by 
Messrs.  Burke  &  Co.,  of  London,  Paris,  and  New  York,  who  keep  employed  a  large  force  of  Italian  mosaicLsts. 
Messrs.  Worrall  &  Co..  of  London,  executed  the  stained  glass.  The  chairman  of  the  executive  committee,  Hon.  J. 
H.  Wade,  has  been  from  the  beginning  patient  and  untiring,  and  brought  to  the  discharge  of  the  arduous  duties 
imposed  on  him  good  common  sense  and  sound  judgment.  To  him  is  largely  due  the  successful  completion  of  the 
work.  The  entire  amount  expended  by  the  Trustees  in  and  about  the  Garfield  Memorial,  including  the  sidewalks 
to  the  Cemetery  entrance,  roadways,  grading  and  sodding  the  lot,  supervision,  etc..  is  about  §200.000. 


NORTH  AND  SOUTH  FRIEZES  OVER  PORTICO. 


MIDDLE    FRIEZE    OVER    PORTICO. 


FRIEZES   OVER    PORTICO. 


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CORRIDOR,   CUSTODIAN'S    OFFICE,   ETC. 


THE    DOME    OF    MEMORIAL    SHRINE. 


NEW   HAMPSHIRE. 


MEMORIAL    WINDOWS. 


NEW    JERSEY 


PENNSYLVANIA.  DELAWARE. 

MEMORIAL    WINDOWS. 


MASSACHUSETTS. 


RHODE   ISLAND.  CONNECTICUT. 

MEMORIAL    WINDOWS. 


INTERIOR    FRIEZES. 


NORTH    CAROLfNA. 


GEORGIA.  MARVLANL). 

MEMORIAL    WINDOWS. 


SOUTH    CAROLINA. 


IN    THE    CRYPT. 


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INTERIOR    FRIEZES. 


DISTANT    VIEW    OF    MEMORIAL. 


PORTRAITS    OF    GARFIELD    AND    MOTHER.    LOG    CABIN    AND    FAMILY    HOME.    LAWNFIELD. 


Lake  View  Park. 


Publiv;  Square. 


View   ul    Cuyaliu^;.!    Ki\er. 


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Cuyahoga  Building 


Perry-Payne  Building. 


ARCADE. 

Superior  Street  Front.  Euclid  Avenue  Front. 


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HicUox  Building. 


Y.  M.  C.  A.  Building. 


sheriff  Street  Market  House. 


Blast  Furnace. 


EUCLID     AVENUE. 


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Chisholii:    Maiisiiiii   and   Interior. 


kusli  RfsiJeiKe 


Wade  ResiJeiKe. 


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bpworth  Memorial. 


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Scene  in  Gordon  Park. 


Lake  in  Wade  Park. 


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UC  SOUTHERN  REGIONAL  LIBRARY  FACILITY 


AA    000  944  425    8 


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